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What Are You Listening To Right Now? -New thread, new rules. Please read them. - Page 3100

post #46486 of 70920

post #46487 of 70920

post #46488 of 70920

Time to groove to this song before I hit the hay. XD

 

http://sheofficial.bandcamp.com/track/archetype

$1 USD


Edited by miceblue - 10/16/13 at 1:01am
post #46489 of 70920

 

Black Francis - Bluefinger (2007)

 

This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.

 

It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.

 

Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about... :smile:

 

Just fantastic...


Edited by StratocasterMan - 10/16/13 at 2:12am
post #46490 of 70920

post #46491 of 70920
Quote:
Originally Posted by Destroysall View Post
 

 

Listening to the Analogue Productions LP and it is so good! A friend of mine gifted me the album today as a belated birthday present and I can't stop listening to the amazing mastering done by Kevin Gray. I'm actually quite shocked that he knew which version I so dearly wanted. :)

Sounds like a very good friend to pay so much consideration to what you would really like.

 

Quote:
Originally Posted by StratocasterMan View Post
 

Black Francis - Bluefinger (2007)

 

This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.

 

It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.

 

Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about... :smile:

 

Just fantastic...

In my dream last night I believe I listened to both Surfer Rosa and Doolittle after not doing so in ages and had the time of my life. Probably had more than a little to do with the fact that I've got both ordered on vinyl in MoFi pressings. :bigsmile_face:

 


 

Embliss & Ad Brown - Oreon (Remixes)

 

I'm positively surprised with the Luke Porter remix. Shingo on the other hand sadly plays things perhaps a bit too safely.

 

 

Escenda - Addicted to You

https://soundcloud.com/auramusic/sets/escenda-addicted-to-you

 

Escenda is such a wonderful project with enchanting vocals and hypnotizing soundscapes.

 

 

OceanLab - Sirens of the Sea Remixed

https://play.spotify.com/album/2PdrIr91XtoCw18QLNx1Ip

 

I've really been on an electronic kick lately… This two-disc set is 2h 38min. They had to edit a couple of the tracks slightly to fit them on the album, LOL.


Edited by TJ Elite - 10/16/13 at 6:20am
post #46492 of 70920

An old song I recently discovered this summer.

 

The other song I been listening to a lot

 

This one also

post #46493 of 70920
Dave Brubeck live in the USA – Broadway Bossa
post #46494 of 70920

post #46495 of 70920
Quote:
Originally Posted by TJ Elite View Post
 

Sounds like a very good friend to pay so much consideration to what you would really like.

It definitely was a huge surprise. I hope I can only repay him somehow as it definitely was a huge gift to give considering price alone.

post #46496 of 70920
a3905997570_2.jpg

Debut album released on Monday by Nottingham artist Harleighblu:

http://harleighblu.bandcamp.com/album/forget-me-not
post #46497 of 70920

Received this this week on promo, due out early November...smily_headphones1.gif



 



http://www.juno.co.uk/products/americana-2-rock-your-soul/503704-01/



 



Here'a track off Vol 1 that came out a couple of years ago:



 



http://www.youtube.com/watch?v=PIvucbgKSys


Edited by Homage - 10/16/13 at 10:01pm
post #46498 of 70920

1000

 

Starting off the morning right. :)

post #46499 of 70920
Quote:
Originally Posted by StratocasterMan View Post
 

 

Black Francis - Bluefinger (2007)

 

This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.

 

It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.

 

Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about... :smile:

 

Just fantastic...

I really like The Pixies I was unaware of this album, Thanks.

post #46500 of 70920

Blonde on Blonde 

 

 

 
 

 

It took a while for Bob Dylan to hit his stride on his seventh studio album, but once he did there was no stopping him. Producer Bob Johnston recalls the difficult birth of Blonde On Blonde.
Richard Buskin
ClassicTracks_01.jpg
Bob Dylan, 1966.
Photo: Jan Persson/Redferns.
If it isn’t broken, don’t fix it, right? Well, not necessarily, based on the evidence of Bob Johnston’s work with Bob Dylan.
In the summer of 1965, after Dylan had recorded the seminal ‘Like A Rolling Stone’ and then fallen out with his producer Tom Wilson, Johnston stepped into Wilson’s shoes for the rest of Highway 61 Revisited, Dylan’s sixth studio album and his first to be recorded entirely with a full rock band. However, between the 15th June ‘Like A Rolling Stone’ session and the July/August Highway 61 dates, Dylan had caused a stink and been heckled for his electric set at the Newport Folk Festival. Accordingly, much of Highway 61 had an aggressive edge and accusatory tone, resulting in one of Dylan’s finest works, of which he himself remarked: “I’m not gonna be able to make a record better than that one... Highway 61 is just too good. There’s a lot of stuff on there that I would listen to.”
Don’t Go To Nashville
ClassicTracks_02.jpg
Dylan removes his sunglasses to play a little bass guitar in Columbia’s New York studio.
Photo: Sony BMG Music Entertainment/Getty Images.
Nevertheless, instead of sticking to any sort of tried and trusted formula while Dylan was still finding his feet in the world of electric folk-rock, Johnston initiated a geographical and musical change of direction for his next album by suggesting that the Minnesota native switch the recording locale from the CBS facility in New York City to that in Nashville. Having already worked in Tennessee’s country music capital with legendary ‘A-Team’ session musicians such as guitarist Grady Martin and pianist Floyd Cramer, recording demos for the movie songs that he and his wife Joy Byers wrote for Elvis Presley, Johnston had recruited harp player Charlie McCoy from there to play guitar on Highway 61. During those sessions, he’d then broached the idea of placing Dylan in an unfamiliar environment for his next record, among musicians whose entire approach was different to anything he had experienced.
“I was standing there with Dylan, his manager Albert Grossman, Clive Davis and the President of Columbia Records, Bill Gallagher,” Johnston recalls, “and I said, ‘Dylan, you’ve gotta go down to Nashville sometime. They’ve got the studio straightened out down there — I made sure they got rid of all the little rooms with a saw and a sledgehammer so that it’s one big room. The musicians are great there, and you can do anything you want to, all in the room together.’ He said, ‘Hmm.’ He would never answer you, but, just like Jack Benny, he’d put his thumb up to his chin and think about what you’d said, and in this case he then walked out and Grossman, Davis and Gallagher came over to me and basically said, ‘If you ever mention Nashville to Bob Dylan again, you’re fired.’ When I said, ‘Why?’ I was told, ‘Because we don’t want him working with a bunch of ******* stupid people down there. You’ve got him going good here, and it looks like we’re going to have a great record. So keep it that way and just remember what we told you.’ I said, ‘Yes, sir, you’re the boss.’
Seven months later, Bob Johnston took Bob Dylan to Nashville, and it was there, in the Columbia studio facility on Music Row, that they cut most of Blonde On Blonde. Acclaimed by many as Dylan’s finest work, this musically eclectic, lyrically surreal double album featured such local greats as guitarists Wayne Moss, Joe South and Jerry Kennedy; drummer Kenny Buttrey; keyboard player Hargus ‘Pig’ Robbins; bassist Henry Strzelecki; and Charlie McCoy on bass, guitar, harmonica and trumpet. Additionally, there were the likes of New York multi-instrumentalist Al Kooper, who had played the distinctive Hammond riffs on ‘Like A Rolling Stone’; and Canadian guitarist Robbie Robertson, a member of the Hawks (later known as the Band) who had recently been backing Dylan in concert, and who contributed to ‘One Of Us Must Know (Sooner Or Later)’ when it was recorded in New York, before the switch to Nashville.

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